It's easy to criticise Conan. Cheesy. Dated. And ever-so-slightly fascist (Conan is the ultimate Aryan: punishing the weak and defending the strong, while looking great in thigh-high boots). But while all that's true, for Arnie fans, the film still rocks.

Incredibly stylish and visually ravishing arguably to a fault Jean-Jacques Beineixís audacious debut has aged well.

The filmmaking is immaculate and the emotional wallop undeniable.

It's not exactly good, and it has some very bad scenes indeed, but the performances sometimes sparkle and the unusual happy ending -- scored with David Bowie's 'Putting Out the Fire With Gasoline' -- is surprisingly moving.

Brutal and brilliant.

It shouldn't work, but it does.

Edwards and Andrews insisted on using the picture to drive another nail into her detested Mary Poppins image.

Levinson’s self-penned 1982 directorial debut and the first of his “Baltimore films” is a disarming reminiscence on buddydom.

This is supposed to be serious hard-hitting but with most prehistoric depictions, only manages either school reconstruction or parody.

Reynolds was coasting at this point of his career, with zero risk-taking it ends up as a soulless, below-average movie.

Okay, so it does cloy in places, but there is truth in its fractures and its seals, a soft-shimmering landscape of real people.

For a kids film this is pleasingly dark with Gilliam delivering as much classical fairy tale as knockabout comedy.

Cowering in the shadow of the Picture Show, this sequel of sorts builds on none of the risks take by its predecessor.

Aesthetically beautiful and superbly acted, a sure sign of things to come from the leads.

A completely merited cult favourite of the avant-garde genre. This is surprisingly compelling in places.

A nice twist on the usual small-town-hides-sinister-secret setup, this offers some genuine scares and impressive gore.

It does slow down a bit too much for endless walking hither and thither scenes in the woods, as we ebb toward the grand reveal, but the mystery proves strong enough to hold you.

A war film without the war but with some interesting observations nonetheless.

A haunting and moving tribute to the Australians who sacrificed their lives in WWI against not the Germans but the Turks at the lesser sung battle of Gallipoli from the assured hand of Peter Weir.

Still regarded as one of the steamiest movie's of all time, Body Heat is a fantastic exponenet of how noir has developed.

Brilliant, but forgotten eighties cop epic with an astounding central turn from Williams.

Although AWIL's comedy/horror elements aren't always cosy bedfellows, the film retains its original, quirky charm. Great effects for the day, too.

That it is a cartoon that takes kids right out of the equation is the best recommendation of all.

Unoriginal, unfunny superhero spoof with a bewildered cast and an obvious plot.

Huston, showing admirable range in his old age, creates enough on-field magic and nostalgia for the beatiful game as an idyll of now-extinct sportsmanship, you can almost forgive the boss's choice of goalkeeper. Almost.

Crammed with wonderful De Palma showboating and a wonderfully crackpot turn from John Lithgow as a right-wing loon.

But O'Keeffe, as Tarzan, has the best part: he never says a word, unless you count 'Aaa-awaa-awaa'. His visual presence is striking enough: Bjorn Borg's head bolted on to Arnold Schwarzenegger's body.

While Dudley's booze-sodden antics tire after a while, there's relief in the form of John Gielgud as the old-fashioned English butler with a nice line in four-letter words, and a return to the screen from Liza Minelli, who plays the waitress Arthur falls in love with.

Boasting one of the most iconic characters ever in Plissken, and an effective sci-fi set-up, this is entertainment of the highest order.

While the backgrounds and animation are wonderful, the film suffers from an intensely depressing middle section, full of heart-stopping chases, damaged friendships and forgettable songs more likely to invoke fidgets than sniffles among the younger contingent in the audience.

Moore just looks confused. He obviously wants to do his thing then hit the bar for cocktails, but John Glen is nagging him to add a roughness to the slick exterior. Equally, it just doesn’t fit. The news is clear, there’s only so far you can push a Bond before it breaks.

Murray's initial transition from the small screen is a classic.

An unknown treasure of a fantasy film and well worth a look for fans of the genre.

Manages to gain classic comic book feature status through a combination of great stunts and a great human angle.

What saves the movie is its relaxed sense of self-awareness. Reynolds all but winks at the audience with his collection of Dick Dastardly sneaks and dodges, but holds onto that winning, hangdog warmth that got him to the top of the pile in the seventies.

It may not be as good as the material it's sourcing, but it's still fun to see so many faces from the genre in one place.

This gritty sci-fi is undeservedly neglected and underrated.

The best thing about this is Tom Savini's superb, uncensored special effects.

Yes, Rick Baker won the Oscar a year down the line for his American Werewolf In London FX. And, yes, they are staggering. But it is Rob Bottin's work here (with inflatable air bags under a latex "skin" and a pioneering "hydraulic snout") that is — and ever shall be — the pinnacle of mutation effects. Amen.

A well observed and deeply tender tale.

Both leads excel at showing a true feeling (be it love or lust) but both covered in the guilty angst that one will betray the other. Edge of your seat stuff.

Unfortunately, half the time this feels more like an Omen parody than a chance to give it a great send off.

Eichhorn, who should have had a much bigger career, is luminous as the sad-eyed heroine, while Heard pulls off the showy role - especially in a climax that finds him rampaging through a posh party at the Cord estate in search of justice.

Not one to let slow-building tension and mystery get in the way of wild flourishes of extremism and shock, Ken Russell hit upon a story that more or less handled his structural excesses and tendency toward blasphemy.

About the dumbest movie Clint Eastwood ever put his name to.

Insufferably long, but very good in parts.

This campy extravaganza has it all - heroes, villains, beautiful women and high stakes. Laughably bad and fantastically good all at once, this is a guilty pleasure that everyone can enjoy.

In depicting the Johnson County War of 1892 (immigrants versus cattle barons), Michael Cimino delivers soaring ambition and scale, but always syringed with a deep sense of regret.

This is not a film about boxing. This is a film about the human condition and about cinema itself.

Enjoyable, but this croc-fest is no Lake Placid.

Intelligent and moving depiction of the futility of war with a superb script and mesmerising performances from all.

This is arguably although unfortunately Goldie Hawn's most memorable role. For while she embodies the character perfectly and when the jokes are funny they are hilarious, sadly there just isn't enough to keep the film going and it begins to run out of steam half way through, with an attempt at a deeper meaning ruining the film.

If you thought the sweetness of The Straight Story was unprecedented in Lynch’s work, look again at this earlier true-life tale of odd, everyday heroism.

An often overlooked fine entry in the Kurasawa canon, this shows a good many western 'epics' how it's done.

This is thoughtful and beautifully observed work, from the social backdrop and the tell-me-what-you're-feeling analysis sessions to the painful performances including Mary Tyler Moore playing against type as the chillingly repressed mother.

Derivative sci-fi hokum but some imaginative touches here and there.

It has lost none of its power: Scum is, in the final analysis, horrific.

This modern musical - with tunes written by Where Are They Now pop band ELO - falls flat on its face simply because the premise is so utterly ludicrous.

It's not big and it's not clever, but it's very, very funny.

A few memorable scenes but this doesn't keep up the pace or plausability sufficiently.

The distinguishing feature of what many people consider to be the funniest movie ever made is the sheer number of gags.

Ridiculous premise and hilarious acting which is mostly famous for the Lolita-type Brooke Shields cavorting in tropical settings.

And then, of course, there was the music, better music than any film had had for many years.

Ostensibly a haunted house story, it manages to traverse a complex world of incipient madness, spectral murder and supernatural visions ...and also makes you jump.

The song and dance scenes are hard to beat in terms of sheer energy and atmosphere, but the dramatic storylines leave several loose ends.

As the bodies pile up amongst this testy crowd of horny teens, there remains a vacant hole were someone scary should be. In a strange way, this film stands unique amongst all slasher films as one where the killer is nearly intangible.

A bit silly really but it has a bizarre mix of a cast and some tension in places.

Beautiful to look at, but shot with a cruel and unerring eye, it gives no quarter to the German people for their complicity in events, and in turn disgusts, amazes and frightens.

The kind of film that starts off with a climax and builds to a plateau of surrealist delirium that, one way or another, will have you shrieking.

Heavy but fascinating creepy drama, that lacks pace in the first half but has some genuinely thrilling moments.

Brad Dourif shows he was always great in one of John Huston's better later films.

Despite the always-good Harvey Keitel, this is just embarassing sci-fi nonsense.

Simple, but effective.

Ghoulish, tense and utterly fantastical, John Carpenter's tale of shipwrecked spectres squelching their way through a fluorescent fog to wreak vengeance on a seaside town is a classic campfire yarn.

A pretty craven attempt by Disney to cash-in on Star Wars blockbusting success, this lightweight but well-written sci-fi adventure movie is well pitched at the very young. More discerning fans of the genre would do well to smother their indignation at the levels of general plagiarism floating around the deck of the supership Cygnus.

Savagely witty on backstage life and audaciously edited, Jazz stands alongside Cabaret as the best “musical” of the last 20 years.

This looks, in retrospect, like nothing much more than a glossy soap passed off as serious drama.

A placid, poignant, well-kept secret of a movie.

Loud and ludicrous, The Jerk is a strong contender for the funniest film of all time.

The big screen was where none of them had gone before, and you can tell.

If an uneasy mix of humour and sadness never quite gels, its message is clear and its cast uniformly strong.

Poor script, poor direction and poor performances mean a dismal 70's disaster movie is the result.

Ogata's performance is the obvious highlight, and Imamura constructs an utterly plausible scenario, but at times overreaches, and loses focus. If you can tolerate a few extraneous scenes, though, this is a dark treat.

A competent, atmospheric remake, but, considering the quality of Murnau's masterwork, is it necessary?

Star Wars it wasn't and still isn't...camp 70's space stuff but the TV series spin-off is a fond memory for 30-somethings throughout the Western World.

Thoughtful trial movie with a disturbing edge.

Flawed but staggering cinema, the unforgettable Apocalypse Now setpieces are extraordinary.

Some interesting creative choices make this more a curio than a great film.

Worth a look, if only for the surreal groupings of the gangs (The Wongs, the Del Bombers and the Fordham Baldies...that's right, they're bald).

Bond meets Star Wars in one of the series' sillier outings.

A movie masterpiece.

Sequel manages to retain some pathos and credibility.

Abel Ferrara's debut is in the exploitation ballpark, but it's as much a product of Warhol low-budget artiness as the slasher genre.

It deliberately makes no sense, but it has more bizarro gimmicks to the minute than any other horror picture of 1979.

Genuinely disturbing horror but with Cronenberg producing a slightly deeper edge in his portrait of a troubled family.

Grim, gruelling but beautifully shot, this is intelligent, sophisticated horror.

Despite delicate performances, the lead characters never escape stereotype, and the relationship between them, which should be the emotional heart of the movie, never becomes remotely convincing even on an I Love Lucy level.

The ideas are good enough for you to allow for some risible performances.